Our readers have spoken, and the top ten posts from 2019 are here. Can you guess what made the list?

IAQ staff have picked works that show how people cruise, chase and travel across oceans, rivers and dreams.

After a strong year in Canadian filmmaking, two Inuit-directed films have been included in TIFF’s list of the top ten Canadian films of the year.

A Collector’s Eye ᓄᐊᑦᑎᕙᑦᑑᑉ ᕿᓂᐅᓯᖓ: The Halvarson Gift of Inuit Art is showing at the University of Alberta Museums Gallery A in the TELUS International Centre until December 14 2019.

After breaking ground in 2014, the Illusuak Cultural Centre in Nain, NL opened its doors to the public in November.

A graphic nod to the history of Inuit printmaking by Bowmanville-based sculptor and installation artist Couzyn van Heuvelen has been selected for the Glen Road Pedestrian Tunnel public art project.

The Museum of Fine Arts, Boston (MFA), has announced the gift of twenty-seven textiles, sculptures and works on paper from the collection of Joyce W. and P. Frederick Sparling.

On November 19, 2019, at Waddington’s Inuit Art public auction in Toronto, Shaman’s Face (n.d.) a sculpture by Judas Ullulaq (1937-1999), doubled the artist’s previous record at public auction.

Britt Gallpen traces the work of three circumpolar Indigenous artists spanning the Global North and examines the political, cultural and aesthetic impact of their use of organic materials.

At the 58th edition of the Venice Biennale, Isuma represented Canada—the first time Inuit artists have done so in the history of the national pavilion. Reneltta Arluk reviews the installation.

Lisa Alikamik looks at the metamorphosis of printmaking in Ulukhaktok (formerly Holman), Invialuit Settlement Region, NT, from wall art to household good.

Shary Boyle and Pierre Aupilardjuk discuss their ceramic collaborations and Aupilardjuk’s experience at the Matchbox Gallery in Kangigliniq, where he’s been making ceramics and teaching for over 20 years.

SakKijâjuk is the first nationally touring exhibition of Inuit art from Nunatsiavut. Jennifer McVeigh reviews what is a thoughtful, multifaceted exhibition on a wide variety of creative practices.

Christopher Blechert is a Yellowknife-based photographer who documents contemporary urban life in the North through subtle maneuvers of light and shade.

Tobey Andersen traces printmaking's elusive history in Nain, Nunatsiavut, NL, from its beginnings in 1976 to the present day.

In this interview with IAF Senior Editor John Geoghegan, Laisa Audlaluk-Watsko, an artist from Grise Fiord, NU, talks about what she hopes to express through her photography on a personal and cultural level.

In this short interview with IAQ Senior Editor John Geoghegan, Kangiqtugaapik-based artist Robert Kautuk talks photography and technology.

The IAQ's John Geoghegan interviews emerging Arctic photographer Mary Gordon of Kuujjuaq, QC, about her artistic practice.

The IAQ's John Geoghegan interviews Eldred Allen of Rigolet, Nunatsiavut, NL, about his development from drone pilot and business owner to photographer.

Àbadakone | Continuous Fire | Feu continuel is the second in an ongoing series of exhibitions organized by the National Gallery, focusing on contemporary Indigenous art from around the world.

Maureen Gruben talks with IAQ’s Napatsi Folger about her latest solo exhibition, her use of traditional and industrial materials, and how Gruben constructs her large scale installations on the land.

Art Toronto 2019 featured more Inuit art than ever. But did it sell? The IAQ caught up with gallerists, artists and collectors for their take on this year’s fair and the presence of Indigenous arts.

While in town as the IAF's featured artist for Art Toronto 2019, Darcie Bernhardt spoke with IAQ's Senior Editor John Geoghegan about her artistic practice and Inuvialuit artist representation.

Janice Grey opens the archives of la Fédération des coopératives du Nouveau-Québec and examines works from the early printmakers of Inukjuak, Nunavik, QC.

In this interview, Kangirsuk-based emerging filmmaker Rebecca Thomassie shares the originals of her directorial debut, Names For Snow, and what she hopes audiences will take away from the film.

Now in its 20th year, Art Toronto presents art from Canadian and international galleries alongside lectures and panel discussions. For this year's Art Toronto, IAQ staff choose six must-see artists.

Aleksei Vakhrushev’s new film The Book of the Sea is a hybrid documentary that blends the traditional harvesting practices of contemporary Chukotkan whale hunters with the claymation story of “the woman who gave birth to a whale”.

IAQ Contributing Editor Napatsi Folger speaks with Lindsay McIntyre about her film project Bloodline, which will be on display at Art Toronto, discussing the origins of the project and from whence McIntyre’s artistic practice derives.

IAQ Contributing Editor Emily Henderson speaks with interdisciplinary artist Mark Igloliorte about working with new artistic mediums, his influences, and motion and movement.

PIQSIQ sisters and throat singers Tiffany Kuliktana Ayalik and Kayley Inuksuk Mackay leave listeners enthralled on their debut EP, teaming up with producer Ruby Singh to blend rhythmic throat singing with entrancing beats.

Kablusiak works across media, using their art “as a coping mechanism to subtly address diaspora, and to openly address mental illness.” The result is a practice seasoned with the macabre, made palatable by the sweetness of its delivery.

The IAQ staff picks their must-see films and showcases at the 2019 ImagineNATIVE Film and Media Arts Festival, taking place in Toronto from Oct. 22 to 27.

To celebrate the 60 years of printmaking in the Kinngait (Cape Dorset) community, IAF staff share their decade-specific picks.

Lisa Koperqualuk, newly appointed Curator and Mediator of Inuit Art at the Montreal Museum of Fine Arts, speaks with IAQ Contributing Editor Emily Henderson about her new role, Inuit leadership, and lots more.

Ahead of the opening of Transits and Returns at the Vancouver Art Gallery, co-curator Tarah Hogue speaks with IAQ Contributing Editor Emily Henderson on the show’s central themes of movement, mobility and migration.

Was sit down with Iqaluit-based artist Dayle Kubluitok at the Nunatta Sunakkutaangit Museum to discuss her artistic process and her recently completed a mural in the Iqaluit Aquatic Centre.

Nakasuk Alariaq relates the history of celebrated artist and shaman Kiakshuk, whose prints are among the earliest to come out of Kinngait (Cape Dorset), NU.

Vice President of International Affairs at the Inuit Circumpolar Council Lisa Quluqqi Koperqualuk to join the Montreal Museum of Fine Arts team as their new Curator and Mediator of Inuit Art.

On September 21st, the Toronto Biennial opened to the public in locations across Toronto. Ambitious in scope, the inaugural edition of the Biennial promises “72 Days of Free Art” along the waterfront.

IAQ’s John Geoghegan takes a closes look at one of the Canadian Eskimo Arts Council’s rejected prints: “Loons Curing the Blind” by May Lonsdale

Couzyn Van Heuvelen takes a closer look at one of the Canadian Eskimo Arts Council’s rejected prints, “Birds and Dog Feeding” by Ikayukta Tunnillie.

Mark Igloliorte takes a closer look at one of the Canadian Eskimo Arts Council’s rejected prints, “Drum Dance in the Igloo” by Paul Uta’naaq

Janice Grey takes a closer look at one of the Canadian Eskimo Arts Council’s rejected prints, “Untitled” by Thomassie Echalook

Mark London takes a closer look at one of the Canadian Eskimo Arts Council’s Rejected Prints, “Untitled (7 Geese, 4 People, 2 Dogs)” by Parr.

Linda Grussani takes a closer look at one of the Canadian Eskimo Arts Council’s rejected prints: “Woman in Labour” by Janet Kigusiuq.

Richard Murdoch takes a closer look at one of the Canadian Eskimo Arts Council’s rejected prints: “Man and Woman Going after Walrus” by Leah Qumaaluk.

Heather Campbell takes a closer look at one of the Canadian Eskimo Arts Council’s rejected prints, “Walrus Surprises Hunter” by Napachie Pootoogook.

Alysa Procida takes a closer look at one of the Canadian Eskimo Arts Council’s rejected prints, “Birth of Jesus” by Harry Egotak.

The National Gallery of Canada (NGC) has confirmed that the Canada Pavilion will be curated by a team composed of Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer and Candice Hopkins.

Reflecting on a trip North in the early 1990s, a curator and writer delves into Isuma’s legacy, their presentation of time and what the collective’s work means for us all.